Etchings,  Engravings,  Mezzotints 


vtyQr 


*  5  * 

§Lf  8  -  X 


COLLECTION  OF 

Mr.  Theodore  Offerman 


AMERICAN  ART  GALLERIES 


MADISON  SQUARE  SOUTH 

NEW  YORK 


1 


/ 


CATALOGUE 

OF 

ETCHINGS,  ENGRAVINGS 

AND  MEZZOTINTS 

COLLECTION  OF 


ME.  THEODORE  OFFERMAN 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 


ON  TUESDAY  EVENING,  APRIL  TWENTY-THIRD 

BEGINNING  AT  8  O’CLOCK 


AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 


THE  SALE  WILL  BE  CONDUCTED  BY' 

MR.  THOMAS  E.  KIRBY 

OF  THE  AMERICAN  ART  ASSOCIATION,  MANAGERS 

NEW  YORK  :  1907 


Press  of  J.  J.  Little  &  Co. 
Astor  Place,  New  York 


THE  GE  i  i  t  — 

INSTITUTE  LIBivVvUY 


CONDITIONS  OF  SALE 


1.  The  highest  Bidder  to  be  the  Buyer,  and  if  any  dispute  arise 
between  two  or  more  Bidders,  the  Lot  so  in  dispute  shall  be  im¬ 
mediately  put  up  again  and  re-sold. 

2.  The  Auctioneer  reserves  the  right  to  reject  any  bid  which  is 
merely  a  nominal  or  fractional  advance,  and  therefore,  in  his 
judgment,  likely  to  affect  the  Sale  injuriously . 

3.  The  Purchasers  to  give  their  names  and  addresses,  and  to 
pay  down  a  cash  deposit,  or  the  whole  of  the  Purchase-money ,  if 
required,  in  default  of  which  the  Lot  or  Lots  so  purchased  to  be 
immediately  put  up  again  and  re-sold. 

4.  The  Lots  to  be  taken  away  at  the  Buyer’s  Expense  and  Bisk 
within  twenty-four  hours  from  the  conclusion  of  the  Sale,  and  the 
remainder  of  the  Purchase-money  to  be  absolutely  paid,  or  other¬ 
wise  settled  for  to  the  satisfaction  of  the  Auctioneer,  on  or  before 
delivery;  in  default  of  which  the  undersigned  will  not  hold  them¬ 
selves  responsible  if  the  lots  be  lost,  stolen,  damaged,  or  destroyed, 
but  they  will  be  left  at  the  sole  risk  of  the  Purchaser. 

5.  While  the  undersigned  will  not  hold  themselves  responsible 
for  the  correctness  of  the  description,  genuineness,  or  authen¬ 
ticity  of,  or  any  fault  or  defect  in,  any  Lot,  and  make  no  War¬ 
ranty  whatever,  they  will,  upon  receiving  previous  to  date  of 
Sale  trustworthy  expert  opinion  in  writing  that  any  Painting 
or  other  Work  of  Art  is  not  what  it  is  represented  to  be,  use 
every  effort  on  their  part  to  furnish  proof  to  the  contrary;  fail¬ 
ing  in  which,  the  object  or  objects  in  question  will  be  sold 
subject  to  the  declaration  of  the  aforesaid  expert,  he  being 
liable  to  the  Owner  or  Owners  thereof,  for  damage  or  injury 
occasioned  thereby. 

6.  To  prevent  inaccuracy  in  delivery,  and  inconvenience  in  the 
settlement  of  the  Purchases,  no  Lot  can,  on  any  account,  be  re¬ 
moved  during  the  Sale. 

7.  Upon  failure  to  comply  with  the  above  conditions ,  the  money 
deposited  in  part  payment  shall  be  forfeited;  all  Lots  uncleared 
ivithin  one  day  from  conclusion  of  Sale  shall  be  re-sold  by  public 
or  private  sale,  without  further  notice,  and  the  deficiency  (if  any) 
attending  such  re-sale  shall  be  made  good  by  the  defaulter  at 
this  Sale,  together  with  all  charges  attending  the  same.  This  Con¬ 
dition  is  without  prejudice  to  the  right  of  the  Auctioneer  to  en¬ 
force  the  contract  made  at  this  Sale,  without  such  re-sale,  if  he 
thinks  fit. 

8.  The  undersigned  are  in  no  manner  connected  with  the 
business  of  the  cartage  or  packing  or  shipping  of  purchases,  and 
although  they  will  afford  to  purchasers  every  facility  for  em¬ 
ploying  careful  carriers  and  packers,  they  will  not  hold  them¬ 
selves  responsible  for  the  acts  and  charges  of  the  parties  engaged 
for  such  services. 

The  AMERICAN  ART  ASSOCIATION,  Managers. 
THOMAS  E.  KIRBY,  Auctioneer. 


CATALOGUE 


ETCHINGS,  ^ENGRAVINGS  AND 
MEZZOTINTS 

SALE  TUESDAY  EVENING,  APRIL  23d,  1907 
AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8  O’CLOCK 


BONHEUR,  ROSA  (After) 


1 — The  Duel 

Engraved  by  Joseph  B.  Pratt.  Proof  on  India  paper, 
signed  by  both  painter  and  engraver. 


— An  Old  Pensioner 

Engraved  by  Joseph  B.  Pratt, 
signed  by  the  painter. 


Proof  on  India  paper, 


3 — A  Foraging  Party 

Etched  by  Achille  Gilbert.  Remarque  proof  on  Japanese 
paper,  signed  by  both  painter  and  etcher.  There  were 
issued  125  of  such  proofs  only. 


BRUNET-DEB  AINES,  A. 


“Few  etchers  of  the  modern  French  school  have  produced  such 
uniformly  good  work.” — P.  G.  Hamerton. 


A 

I 


4 — A  Thatched  Cottage 

After  the  painting  by  Corot.  Proof  on  Whatman  paper. 


BOLDINI 


2- 


5 — At  the  Opera 

Photogravure  printed  in  colors.  Proof  stamped  No.  60. 


BUHOT,  FELIX 


“  Let  us  say  at  once  that  Buhot — painter  and  etcher — is  above  all 
a  poet.  The  world  at  large  cannot  fail  to  admire  the  form  of  his 
message,  his  vocabulary  and  syntax — that  is  to  say,  the  means  by 
which  he  expresses  himself.  But  setting  all  this  aside,  it  rests  for 
us  more  specially  to  consider  these  visions  of  his,  dreams  and 
things  minutely  observed,  into  which  he  threw  all  the  force  of  his 
passionate,  brilliant,  and  tender  soul.” — Leonce  Ben6dite. 


6 — Country  Neighbors  (Voisins  de  Campagne) 

Bourcard,  No.  148. 

Signed  artist’s  proof. 

“His  ‘little  town’  of  Valognes  and  his  beloved  Normandy  in¬ 
spired  him  with  touching  subjects,  some  of  which  are  veritable 
treasures  for  a  collection,  as,  for  example,  the  ‘  Grandes  ’  and  the 
‘  Petites  Chaumieres,  Les  Oies,’  and  above  all  the  ‘  Voisins  de 
Campagne.’  ” — Leonce  Beneclite. 


7 — Westminster  Palace 


BOURCARD,  No.  155. 

Fine  impression  printed  upon  paper  treated  with  turpen¬ 
tine^  and  bearing  the  stamp  of  the  artist.  Upon  the  mount 
in  the  handwriting  of  Buhot  is  “  epreuve  d’essai  du  4e  etat 
(retouchee  ler  etat  de  publication,  Felix  Buhot).”  The 
artist  has  indicated  in  sepia  some  additional  reflections  of 
the  barge  in  the  foreground. 


“  .  .  .  his  two  classic  masterpieces — ‘  Westminster  Palace  ’  and 

‘  Westminster  Bridge.’  ” 

“  Here  Buhot  surpasses  the  mere  picturesque  and  attains  to 
grandeur  of  style.  In  the  former,  under  the  hazy  light  of  an 
opaque  and  heavy  sky,  near  the  bank  of  the  dappled  waters  of 
the  broad  and  troubled  stream,  the  Houses  of  Parliament  stretch 
their  long,  heavy  mass  of  stately  blackened  buildings,  bristling  with 
a  multitude  of  turrets,  steeples  and  watch-towers,  the  whole 
proudly  dominated  by  the  Victoria  Tower  and  the  Clock  Tower. 
It  is  one  of  the  surest  in  execution  and  completest  of  his  works. 
It  makes  one  think  of  Meryon;  it  is  executed  with  the  firmness  of 
etching  of  an  Israel  Sylvestre  who  might  have  known  Whistler  or 
Seymour  Haden.” — Leo  nee  BenMite. 


8 — La  Place  des  Martyrs  et  la  Taverne  du  Bagne 


Bourcard,  No.  163. 

Proof  of  a  beautiful  tone,  printed  on  paper  soaked  in  tur¬ 
pentine  and  bearing  the  stamp  of  the  artist.  In  the  hand¬ 
writing  of  Felix  Buhot,  “  epreuve  choisie  parmi  les  pre¬ 
mieres  epreuves  d’Essai  du  2e  etat.  Felix  Buhot.” 


“  Effet  de  nuit  bien  caract6rise.” — Gustave  Bourcard. 

“  But  of  his  Paris  of  to-day  ‘  Place  Pigalle,’  spangled  with  the  gay 
Parisian  sunshine,  his  ‘  Place  Breda,’  with  its  curious  effect  of  a 
snowy  day,  his  ‘Taverne  du  Bagne,’  swarming  with  noisy  life,  his 
‘Quays  in  Winter,’  shivering  in  a  cold,  penetrating  rain,  his  ‘  Re¬ 
tour  des  Champs  Elys6es  ’  in  an  evening  shower,  and  his  inevitable 
Funeral  Processions — what  pictures  can  be  more  picturesque,  more 
living,  more  spontaneous?” — L6once  BenMite. 


CAMERON,  D.  Y. 


“The  architectural  work  of  Cameron,  is  for  the  most  part,  like 
Meryon’s,  deliberate,  closely  planned  engraving — a  thing  conceived 
with  joy  or  passion,  but  wrought  out  with  undeterred  and  untiring 
effort,  if  likewise  with  splendid  utility.  .  .  .  in  his  mature  la¬ 

bors  a  veritable  Master.”— Frederick  Wedmore,  “  Cameron’s  Etch¬ 
ings.” 

9 — Old  Saumer 

Superb  and  early  impression.  Signed  artist’s  proof. 


CHAUVEL,  THEOPHILE 


“  Chauvel  est  le  veritable  graveur  de  paysage ;  et  il  a  eleve  la 
gravure  de  paysage  a  la  hauteur  de  cette  chose  sp6ciale  qu’on 
appelle  un  estampe.  Personne  n’a  grave  mieux  que  lui  Daubigny, 
Jules  Dupre,  Theodore  Rousseau.  Les  planches  d’apr&s  ces 
maitres  sont  d’un  rendu  saisissant”— Henri  Beraldi. 

10 — Solitude 

Beraidi,  No.  94. 


Alter  the  painting  by  Daubigny.  First  state.  Signed  ar¬ 
tist  s  proof  on  vellum.  In  the  opinion  of  many  connois¬ 
seurs  this  is  the  most  beautiful  of  reproductive  landscape 
etchings. 


— The  Banks  of  the  Ivy-0 

After  the  painting  by  W.  B.  Leader, 
painter  and  etcher. 


Signed  by  both 


CORMACK,  M. 

12 — Nancy 

After  the  painting  by  George  Morland.  Signed  artist’s 
proof  on  India  paper. 


COUSINS,  SAMUEL 


y  Born  in  Exeter,  1801;  died  in  London,  May  7,  1887.  A 
pupil  of  S.  W.  Reynolds.  The  last  of  the  line  of  great 
mezzotint  engravers. 

13 — The  Honorable  Miss  Bingham 
y  Whitman,  No.  17. 

After  the  painting  by  Sir  Joshua  Reynolds.  Signed  artist’s 
proof  on  India  paper. 

Lady  Anne  Bingham,  youngest  daughter  of  Sir  Charles 
Bingham,  first  Earl  of  Lucan ;  and  sister  of  Lavinia, 
Countess  Spencer.  Died  unmarried  in  1840. 

The  painting  by  Sir  Joshua  Reynolds  was  exhibited  at  the 
Royal  Academy  in  1786. 


14 — Children  of  the  Sea 

After  the  painting  by  Josef  Israels.  Remarque  proof  on 
vellum,  signed  by  painter  and  etcher. 


DAUTREY,  LUCIEN 


/  Pupil  of  Courtry. 

15 — Springtime 

After  the  painting  by  P.  Vayson.  Remarque  proof  on 
vellum,  signed  by  both  painter  and  etcher. 


DEVILLE,  MAURICE 


The  Chariot  Race 

After  the  painting  by  U.  Checa.  Remarque  proof  on  Jap¬ 
anese  paper,  signed  by  both  joainter  and  etcher. 


DICKSEE,  FRANK 

17 — The  Two  Conquerors 

Photogravure.  Signed  artist’s  proof  on  India  paper. 


DICKSEE,  HERBERT 

18 — A  Happy  Mother 

Signed  remarque  proof  on  vellum. 


19 — Fire  Worshippers 

Signed  artist’s  proof  on  vellum. 


20 — Nearing  Home 

Signed  artist’s  proof  on  vellum. 


EARL,  MAUD 

21 —  Irish  Members 

Photogravure.  Proof  on  India  paper. 

22 —  Irish  Members 

Photogravure.  Proof  on  India  paper. 

23 —  “  Two  of  a  Trade  ”  and  “  Rough  and  Ready  ” 

Photogravures.  Proofs  on  India  paper.  Two  in  one 
frame.  One  lot. 


FISHER,  EDWARD 


Born  in  Ireland  in  1730,  was  at  first  a  hatter,  but  took 
to  engraving,  went  to  London,  became  a  member  of  the 
incorporated  Society  of  Artists  in  1766,  and  died  about 
1785. 

“  Fisher  must  be  allowed  a  high  place  for  both  breadth  of  treat¬ 
ment  and  delicacy  of  finish.” 


24 — Colley  Cibber 


Chaloner  Smith,  No.  9. 

After  the  painting  by  J.  B.  Vanloo.  Only  state.  Good  im¬ 
pression,  in  excellent  condition,  with  margins. 

Born  in  London,  1671,  went  on  the  stage  and  wrote  several 
plays.  The  Non- juror,  acted  in  1717,  created  a  sensation 
at  the  time  and  procured  him  the  place  of  Poet  Laureate 
in  1720.  He  died  December  12,  1757.  The  lady  at  the 
left  is  probably  a  portrait  of  his  daughter,  Mrs.  Charke. 


FLAMENG,  LEOPOLD 

25 — Grolier  at  the  House  of  Aldus 

From  the  painting  by  Fran£ois  Flameng,  owned  by  the 
Grolier  Club  of  the  city  of  New  York.  Remarque  proof, 
signed  by  painter  and  etcher.  The  remarque  is  a  fac¬ 
simile  of  the  seal  of  the  Grolier  Club. 


GAUTIER,  LUCIEN 

Born  at  Aix,  in  Provence,  1850.  Has  been  especially  suc¬ 
cessful  in  his  rendering  of  the  works  of  the  great  artists 
of  the  Barbizon  School. 


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26 — Interior  of  a  Sheepfold 

After  the  painting  by  Charles  Jacque.  Remarque  proof 
on  vellum,  signed  by  both  painter  and  etcher. 

a 

$> 

GRAVESANDE,  CHARLES  STORM  VAN’S 

“  I  find  Gravesande  the  ideal  painter-etcher,  a  maker  of  illusions 
rather  than  of  lines,  whose  lines  are  so  fused  and  lost  in  the  per¬ 
fect  whole  that  we  see  and  feel  what  is  done  with  never  a  thought 
of  the  means  whereby  it  got  itself  done.  It  is  a  comfort  to  sit 
down  before  the  work  of  such  an  artist  as  this.” — John  William¬ 
son  Palmer. 

27 — Moulin  au  Bord  du  Gein,  Pres  Abcoude 

Rice,  No.  184. 

The  large  plate.  Signed  artist’s  proof  on  Japanese  paper. 
This  is  usually  accounted  one  of  the  artist’s  masterpieces. 

r 

HADEN,  SIR  SEYMOUR 

President  of  the  Royal  Society  of  Painter-etchers. 

“  By  general  consent  Seymour  Haden  ranks  as  the  greatest  of 
modern  landscape  etchers.” 

28 — Kensington  Gardens  (The  Smaller  Plate) 

Drake,  No.  2. 

Second  state,  before  the  words  “  Kensington  Gardens  ” 
were  erased.  One  of  the  artist’s  most  beautiful  landscape 
plates.  Signed  artist’s  proof  on  Japanese  paper. 

0 

vy 

29 — Egham  Lock 

Drake,  No.  15. 

Second  state,  the  signature  erased. 

Fulham 
Drake,  No.  18. 

Second  state,  with  the  wooden  bridge.  Signed  artist’s  proof. 

On  the  Test 
Drake,  No.  19. 

First  state  on  Japanese  paper.  Very  fine  impression. 
From  the  Burritt  collection. 

“  This  plate  and  Drake,  No.  20,  A  Water  Meadow,  were  done  on 
the  same  day,  one  at  noon  and  the  other  very  late  in  the  evening. 
The  Test  (in  Hampshire)  is  a  famous  trout  stream.” — Seymour 
Haden. 

32 — A  Water  Meadow 
Drake,  No.  20. 

Signed  artist’s  proof. 

“  I  like  this  plate — which  is  saying  a  great  deal.” — S.  II. 

“ .  .  .  a  vivacious,  happy,  sympathetic  transcript  of  a  sudden 

rainstorm  in  the  Hampshire  lowlands,  where  poplars  flourish  and 
grass  grows  rank.” — Frederick  Wedmore,  “  Fine  Prints,”  p.  106. 


33 — A  Sunset  in  Ireland 


Drake,  No.  44. 


Second  state.  Very  fine  impression,  not  too  heavy  in  the 
shadows  in  the  tree  which  overhangs  the  stream  to  the  left. 

“  This  plate  and  also  Drake,  No.  28,  A  By-Road  in  Tipperary ,  were 
done  in  the  park  of  Viscount  Hawarden,  in  the  most  beautiful 
part  of  Tipperary.” — Seymour  Haden. 


“A  Sunset  in  Ireland  is  Haden’s  best  work  in  dry-point  and  it 
certainly  deserves  its  reputation  of  one  of  its  author’s  master¬ 
pieces.  The  quiet,  peaceful  sunset  behind  the  dark  masses  of  trees 
makes  a  plate  of  exquisite  beauty.  There  are  great  ditferences  in 
the  various  states,  so  that  a  choice  among  them  is  extremely  diffi¬ 
cult.  The  rich,  dark,  late-evening  effect  of  the  second  state  is 
quite  as  fine  in  its  way  as  the  lighter  and  more  delicate  early- 
evening  effect  of  the  other  earlier  impressions.” — Atherton  Curtis, 
“  The  Etchings  of  Francis  Seymour  Hayden.” 


34 — Whistler's  House,  Old  Chelsea 


Drake,  No.  47. 

Signed  artist’s  proof. 

“  There  is  magnificent  power  of  drawing  in  this  etching,  and  bril¬ 
liant  arrangement  of  lights  and  darks.  .  .  .  There  is  not  a 

marine  painter  living  who  would  have  drawn  these  barges  better.” 
— P.  O.  Hamerton. 


35 — The  Towing  Path 
Drake,  No.  67. 

Before  the  additional  work  in  the  sky  and  on  the  hills  in 
the  distance. 

One  of  the  etcher’s  favorite  plates,  as  it  certainly  is  one  of 
his  finest. 


36 — Sunset  on  the  Thames 


Drake,  No.  83. 

First  state.  There  are  no  shaded  clouds  directly  above  the 
sun.  Signed  artist’s  proof. 

“  The  effect  of  light  is  given  with  such  magnificent  force  that  the 
whole  sky  flames.” — P.  G.  Hamerton,  “  Etching  and  Etchers,” 
p.  301. 


37 — A  Lancashire  River 
Harrington,  No.  210. 


Signed  artist’s  proof.  A  well-known  salmon  pool  on  the 
River  Ribble.  An  unusually  fine  impression.  Numbered 
proof,  bearing  the  stamp  76  in  the  lower  left-hand  corner. 
This  plate  has  always  been  one  of  the  artist’s  favorites. 


HAIG,  AXEL  HERMAN 


tP 


The  greatest  living  etcher  of  architectural  subjects. 

38 — The  Sailor's  Guild,  Lubeck 

Signed  artist’s  proof.  125  only.  No  other  state. 


& 


39 — Entrance  to  the  Mosque,  Cairo 
Signed  artist’s  proof.  Only  state. 


HELLEU,  PAUL 


“  Helleu’s  etchings  prove  him  to  be  in  sympathy  with  the  most 
alert,  which  is  often  the  most  dignified  and  distinguished  of 
modern  youthful  beauty.” — Frederick  Wedmore. 


40 — Consuelo,  Duchess  of  Marlborough 


Original  dry-point,  printed  in  colors.  Signed  artist’s  proof. 


JACQUE,  CHARLES 

“  He  will  certainly  be  remembered  as  one  of  the  master  etchers 
of  our  time.” — P.  G.  Hamerton. 


“  Ce  qui  le  distingue  c’est  la  poesie  penetrante  de  des  paysages, 
c’est  le  charme  intime  de  ses  fermes,  de  ses  carbarets,  de  ses 
paysannieries.” — Charles  Blanc,  “  Gazette  de  Beaux  Arts,”  15 
fevrier,  1861. 


41 — Interieur  de  Bergerie 

Guiffrey  (Continuation  of  Catalogue  of  Dry-points),  No.  60. 

Signed  artist’s  proof  on  Holland  paper.  The  plate  en¬ 
riched  with  roulette,  burin  and  dry-point  work.  In  the 
opinion  of  some  authorities  this  is  the  finest  state  of  the 
plate. 


JUDKIN,  ELIZABETH 
Pupil  of  James  Watson. 


42 — Mrs.  Abington 


Chaloner  Smith,  No.  1. 

After  the  painting  by  Sir  Joshua  Reynolds.  Second  state. 
Fine  impression,  in  good  condition,  with  margins. 

Frances  Barden  was  born  in  London  in  1741.  After  pass- 


ing  through  many  difficulties  she  appeared,  with  success,  at 
Drury  Lane  in  1755,  and  soon  afterwards  married  Mr. 
James  Abington.  She  was  an  unrivalled  favorite  with  the 
public  up  to  her  retirement  from  the  stage  at  the  close  of 
the  century.  She  died  at  Pall  Mall,  March  4,  1815. 


KGEPPING,  CHARLES 


Born  in  Dresden,  1848.  Came  to  Paris  in  order  to  study 
etching  under  Charles  Waltner,  whose  technique  he  early 
mastered.  His  masterly  etchings  are  among  the  very  finest 
produced  in  the  nineteenth  century,  and  he  is  one  of  the 
few  “  translator-etchers  ”  who  have  successfully  handled 
plates  of  a  large  size. 


43 — Christ  on  Calvary 

After  the  painting  by  Munkacsy.  Remarque  proof  on 
Japanese  paper.  Signed  by  painter  and  etcher.  The  re¬ 
marques  are  portraits  of  Munkacsy  and  Koepping. 
(Companion  piece  to  Christ  before  Pilate,  etched  by  Charles 
Waltner,  see  No.  99  of  this  catalogue.) 


LAGUILLERMIE,  FREDERIC-AUGUSTE 


Born  March  27,  1841.  Pupil  of  Leopold  Flameng.  His 
fame  rests  secure  upon  his  superb  plates  after  Van  Dyck, 
Titian  and  others. 


44 — Marie  Louise  de  Tassis 

Alter  the  painting  by  Van  Dyck.  Signed  artist’s  proof  on 
vellum.  One  of  this  etcher’s  masterpieces. 


LATHROP,  WILLIAM  L. 


45 — Twilight,  Hamlet  in  Finisterre 

After  the  painting  by  Jules  Breton.  Remarque  proof  on 
vellum.  Signed  by  the  etcher. 


LANCON,  AUGUSTE 


Born  in  1836.  Died,  1885.  In  his  own  manner  he  has  no 
rival  as  an  etcher  of  animals. 


46 — Lion  Drinking 

Remarque  proof,  signed,  on  Japanese  paper. 


LEFORT,  HENRI 

Born  in  Paris,  August  31,  1852;  pupil  of  Leopold  Flameng. 
In  1888  he  was  elected  president  of  the  Societe  des  Aqua- 
fortistes  Fra^ais,  and  has  been  twice  reelected. 

47 — Benjamin  Franklin  at  the  Age  of  Seventy-three 
From  the  painting  by  Duplessis.  Remarque  proof  on  Jap¬ 
anese  paper.  The  original  painting  is  in  the  Metropolitan 
Museum  of  Art,  New  York. 


LEIGHTON,  SIR  FREDERICK,  P.R.A. 


I 


D 


/ 

48 — Bacchante 


Photogravure. 


Signed  artist’s  proof  on  India  paper. 


MASSEE,  P.  A. 


49 — A  Queen  of  Swords 

After  the  painting  by  W.  Q.  Orchardson.  Remarque  proof 
on  Japanese  paper.  Signed  by  both  painter  and  etcher. 


MEISSONIER,  JEAN  LOUIS  ERNEST 

[Etchings  by  various  artists  after  the  paintings  of] 


His  paintings,  usually  on  a  small  scale,  are  masterpieces. 
Their  wonderful  finish,  marked  character  and  peculiar  in¬ 
dividuality  have  made  his  name  famous  in  every  part  of 
the  civilized  world. 

50 —  Piquet 

Etched  by  August  Boulard.  Remarque  proof,  on  vellum, 
signed  by  painter  and  etcher. 

51—  The 

Etched  by  Achille  Jacquet.  Remarque  proof,  on  vellum, 
signed  by  painter  and  etcher.  The  remarque  is  an  original 
etching  by  Meissonier. 

52 —  Post  Horses 

Etched  by  Louis  Monzies.  Remarque  proof,  on  vellum, 
signed  by  painter  and  etcher.  The  remarque  is  an  original 
etching  by  Meissonier. 


MELLAN,  CLAUDE 

Born  at  Abbeville,  1601.  Died  in  Paris,  1688.  He  adopted 
a  novel  and  singular  method  of  working,  with  single  parallel 
lines,  without  any  cross-strokes  over  them,  the  light  and 


(SQ  shade  being  rendered  by  variations  in  the  thickness  of  the 
V/ ^  lines. 

53  The  Sudarium  of  Saint  Veronica 

Engraved  from  his  own  design.  This  is  the  most  celebrated 
of  Mellan’s  plates.  It  is  engraved  in  a  single  spiral  line, 
beginning  at  the  tip  of  Christ’s  nose. 

From  the  Burritt  Collection. 


MILIUS,  FELIX 


Born  at  Marseilles  in  1848.  Pupil,  in  painting,  of  Glevre, 
S  ~  ar(d  in  etching  of  Hedouin. 


54 — An  Embarrassing  Choice 

After  the  painting  by  Roybet.  Remarque  proof,  on  vellum, 
signed  by  both  painter  and  etcher. 


MILLER,  JOHN  D. 

5 — Surprise 

After  the  painting  by  George  L.  Seymour, 
dia  paper,  signed  by  painter  and  engraver. 


Proof  on  In- 


9 


PRATT,  JOSEPH  B. 


y 

5 6 — The  Misses  Cartaret  Hardy. 

After  the  painting  by  Sir  Thomas  Lawrence.  Signed  ar¬ 
tist’s  proof,  on  India  paper. 

r57 — Mrs.  Ticknell 

After  the  painting  by  George  Romney.  Signed  artist’s 
proof,  on  India  paper. 


RAEBURN,  H.  MACBETH 


Born  in  Helensburgh,  Dumbartonshire,  Scotland,  Septem¬ 
ber  24,  I860.  His  first  exhibited  etching  was  shown  at 
the  Royal  Academy  in  1887-  His  etchings  after  the  paint¬ 
ings  of  contemporary  artists  are  esteemed  by  connoisseurs 
amongst  the  best  produced  in  our  own  day. 

58 — Sir  Henry  M.  Stanley 

After  the  painting  by  Van  Angeli.  Remarque  proof,  on 
vellum.  The  remarques  are  portraits  of  Parke,  Jephson, 
Nelson,  Stairs  and  Emin  Pasha.  The  original  painting  is 
in  the  possession  of  the  Queen  of  England. 


SADLER,  W.  DENDY 
[Etchings  by  various  artists  after  paintings  of] 

5 9 —  A  Bagman’s  Toast 

Etched  by  W.  Boucher.  Remarque  proof,  on  Japanese 
paper,  signed  by  both  painter  and  etcher. 

60 —  Returning  Thanks 

Etched  by  W.  Boucher.  Remarque  proof,  on  Japanese 
paper,  signed  b}^  both  painter  and  etcher. 


6l — “  For  He’s  a  Jolly  Good  Fellow  ” 

Etched  by  W.  Boucher.  Remarque  proof,  on  Japanese 
paper,  signed  by  both  painter  and  etcher. 


*  X  "  62 — The  End  of  the  Skein 

%  Etched  by  W.  Boucher.  Remarque  proof,  on  Japanese 
paper,  signed  by  both  painter  and  etcher. 


9 


SO 

j$p : 


-Sweethearts 

Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 

-For  Weal  or  Woe 

Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 

-Where  the  Widow  Lives 
Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 

His  Favorite  Bin 

Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 

The  Wrong  Side  of  the  Hedge 

Etched  by  W.  Boucher.  Remarque  proof,  on 

paper,  signed  by  both  painter  and  etcher. 

Uninvited  Guests 

Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 

Nearly  Done 

Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 

Toddy  at  the  “  Cheshire  Cheese  ” 

Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 


71— “Who  Is  It?” 

Etched  by  W.  Boucher.  Remarque  proof,  on 
paper,  signed  by  both  painter  and  etcher. 


Japanese 


Japanese 


Japanese 


Japanese 


Japanese 


Japanese 


Japanese 


Japanese 


Japanese 


72 — From  London  to  York 

Etched  by  James  Dobie.  Remarque  proof, 
paper,  signed  by  both  painter  and  etcher. 


on  Japanese 


73 —  Christmas  Time 

Etched  by  James  Dobie.  Remarque  proof, 
paper,  signed  by  both  painter  and  etcher. 

74 —  Long,  Long  Ago 

Etched  by  James  Dobie.  Remarque  proof, 
paper,  signed  by  both  painter  and  etcher. 

75 —  The  Postman 

Etched  by  James  Dobie.  Remarque  proof, 
paper,  signed  by  both  painter  and  etcher. 


on  Japanese 


on  Japanese 


on  Japanese 


76 — The  Morning  Gossip 

Etched  by  H.  Focillon.  Artist’s  proof,  on  vellum,  signed 
both  painter  and  etcher. 


77 —  The  Victim 

Etched  by  Gaujean.  Artist’s  proof,  on  Japanese  paper, 
signed  by  both  painter  and  etcher. 

78 —  The  Old  and  the  Young 

Etched  by  Gaujean.  Artist’s  proof,  on  vellum,  signed  by 
both  painter  and  etcher. 


79  — First  of  September 


Etched  by  Leopold  Lowenstam.  Artist’s  proof,  on  Jap¬ 
anese  paper,  signed  by  both  painter  and  etcher. 


80 — The  Hunting  Morning 

Etched  bj^  H.  Macbeth-Raeburn.  Remarque  proof, 
Japanese  paper,  signed  by  both  painter  and  etcher. 


on 


& 


$ 


81 — The  Top  of  the  Hill 

_  Etched  by  Arthur  J.  Turrell,  Jr.  Remarque  proof,  on 
Japanese  paper,  signed  by  both  painter  and  etcher. 


.53  frLud. 


ASH  - 

SPOONER,  CHARLES 


A  native  of  County  Wexford.  He  acquired  the  art  of  en¬ 
graving  in  Dublin.  In  1752  he  went  to  London,  probably 
invited  by  MacArdell,  and  there  practised  mezzotint  en¬ 
graving  up  to  the  time  of  his  death,  December  5,  1767. 


— Maria,  Countess  of  Coventry 
Chaloneu  Smith,  No.  9. 

Chaloner  Smith  describes  only  one  state,  namely  that  with 
the  name  of  the  engraver  and  with  the  publication  line. 
This  impression  would  seem  to  be  a  trial  proof.  In  ex¬ 
cellent  condition,  with  margins. 

Eldest  daughter  of  John  Gunning,  Esq.,  County  Roscom¬ 
mon,  married  March  5,  1752,  to  George  William,  sixth 
Earl  of  Coventry,  died  September  30,  1760.  A  celebrated 
beauty — one  of  the  “  beautiful  Miss  Gunnings,”  sister  of 
Elizabeth,  Duchess  of  Hamilton. 


9 


STRUTT,  ALFRED  W. 

83 — The  Run  of  the  Season 

Photogravure.  Signed  artist’s  proof,  on  India  paper. 


1  h  84 — Any  Port  in  a  Storm 

I/O  *  Photogravure.  Signed  artist’s  proof,  on  India  paper. 


<$■ 


85 — Three  Offers 

Photogravure.  Signed  artist’s  proof,  on  India  paper. 


TAD  EM  A,  L.  ALMA 

[Engravings  and  etchings  by  various  artists  after  the 

paintings  of] 


86 — The  Vintage  Festival 

Engraved  by  August  Blanchard.  Proof  on  India  paper, 
signed  by  both  painter  and  engraver. 


87 — The  Vintage  Festival 

Engraved  by  August  Blanchard.  Proof  on  India  paper, 
signed  by  both  painter  and  engraver. 


88 —  The  Parting  Kiss 

Engraved  by  August  Blanchard.  Proof  on  India  paper, 
signed  by  both  painter  and  engraver. 

89 —  The  Picture  Gallery 

Engraved  by  August  Blanchard.  Proof  on  India  paper, 
signed  by  both  painter  and  engraver. 

90 —  Summer 

Engraved  by  August  Blanchard.  Proof  on  India  paper, 
signed  by  both  painter  and  engraver. 

91 —  In  the  Rose  Garden 

Etched  by  Leopold  Lowenstam.  Remarque  proof,  on  Jap¬ 
anese  paper,  signed  by  both  painter  and  etcher. 

92 —  Under  the  Roof  of  Blue  Indian  Weather 
Photogravure.  Etched  by  Leopold  Lowenstam.  Signed 
artist’s  proof,  on  India  paper. 

93 —  Frigidarium 

Photogravure.  Etched  by  Leopold  Lowenstam.  Signed 
artist’s  proof,  on  Japanese  paper. 


94 —  Benediction 

Photogravure.  Etched  by  Leopold  Lowenstam.  Signed 
artist’s  proof,  on  India  paper. 

95 —  Love  in  Idleness 

Photogravure.  Etched  by  Leopold  Lowenstam.  Signed 
artist’s  proof,  on  Japanese  paper. 

96 —  Apodyterium 

Etched  by  Leopold  Lowenstam.  Remarque  proof,  on  Jap¬ 
anese  paper,  signed  by  both  painter  and  etcher. 


TISSOT,  JACQUES  JOSEPH 

Born  at  Nantes  in  1836.  Died  at  his  home,  near  Paris, 
in  1892.  His  work  comprises  about  eighty  plates,  many 
of  them  ranking  among  the  most  important  original  dry- 
points  produced  in  the  last  quarter  of  the  nineteenth  cen- 
tury. 

97 — The  Prodigal  Son 

(Series  of  five,  in  two  frames.)  Title  Page,  The  Depar¬ 
ture,  In  Foreign  Climes,  The  Return,  The  Fatted  Calf. 
Original  dry-points.  Signed  artist’s  proofs.  Each  proof 
also  bears  the  stamp,  in  red,  of  the  artist.  To  be  sold  as 
a  set. 


VAN  BLEECK,  PETER 

Born  in  Flanders,  came  to  England  in  1723.  Died  July 
20,  1764.  He  principally  occupied  himself  with  painting. 
His  engravings  are  chiefly  after  his  own  pictures,  and 
mostly  without  publishers’  names.  His  style  is  telling  and 
effective. 


98 — Margaret  Woffington  as  “  Phebe  ” 

Chaloner  Smith,  No.  11. 

Engraved  from  his  own  painting  in  1747.  First  state,  be¬ 
fore  the  plate  was  re-worked  and  darkened.  Fine  impres¬ 
sion,  in  excellent  condition,  with  margins. 

This  charming  woman  was  born  in  Dame  Street,  Dublin, 
in  1719-  She  first  appeared  on  the  stage  there,  afterwards 
in  London,  meeting  with  the  greatest  success,  and  admired 
by  some  of  the  leading  men  of  the  time.  She  left  the  stage 
in  1757,  and  died  March  28,  1760. 


WALTNER,  CHARLES 


“  L’un  ties  grands  graveurs  fran^ais.  Et  graveur  absolument  par- 
ticulier,  dont  le  nom,  marquant  une  etape  dans  la  marche  de  son 
art,  signifie  l’extreme  limite  de  la  liberte  dans  les  precedes 
d’execution.” — Henri  Beraldi. 


99 — Christ  before  Pilate 

y 

After  the  painting  by  Munkacsy.  Remarque  proof,  on 
Japanese  paper,  signed  by  painter  and  etcher.  The  re¬ 
marques  are  portraits  of  Munkacsy  and  of  Waltner. 
(Companion  piece  to  Christ  on  Calvary,  etched  by  Charles 
Koepping,  see  No.  43  of  this  catalogue.) 


100 — The  Gilder;  Jan  Domer 

After  the  painting  by  Rembrandt.  Signed  artist’s  proof, 
on  Japanese  paper.  There  were  125  proofs  only  in  this 
state. 


“  Autre  piece  tres  capitale.” — Henri  Beraldi. 


WHISTLER,  JAMES  A.  McNEILL 


“  Whistler  was  the  greatest  etcher  and  the  most  accomplished  litho¬ 
grapher  who  ever  lived  .’’—Joseph  Pennell,  “Whistler  as  an 
Etcher.” 


101 — La  Vieille  aux  Loques 


^  Wedmore,  No.  14. 

Very  fine  impression,  on  India  paper.  One  of  the  French 
set.  This  plate  is  one  of  the  finest  executed  by  Whistler 
at  this  early  time  and,  in  its  way,  is  not  surpassed  by  any 
later  work. 


1 02 — Rotherhithe 


Wedmore,  No.  60. 

Very  fine  impression,  on  Japanese  paper.  One  of  the 
Thames  set. 

“  Every  brick  in  the  building  on  the  right  is  carefully  drawn  in 
order  to  produce  the  desired  effect  of  color.  This  plate  is  one 
of  the  strongest  and  most  vigorous  of  the  series.” — T.  R.  Way, 
“  The  Art  of  J.  McNeill  Whistler,”  p.  69. 


103 — The  Forge 


Wedjuore,  No.  63. 


S'  Fine  impression,  on  Japanese  paper.  One  of  the  Thames 
set.  This  “  audacious  dry-point  ”  was  done  in  Brittany. 
It  is  a  marvellous  piece  of  chiaroscuro. 


✓ 


\ 


104 — The  Little  Mast 
Wedmore,  No.  151. 

Fine  early  impression.  One  of  the  Venice  set. 

Take  such  etchings  as  the  Little  Mast,  the  Piazzetta,  The  Riva, 
San  Giorgio,  The  Balcony,  etc.  In  each  the  strokes  are  almost 
to  be  counted,  yet  how  they  assist  the  eye  to  complete  the  picture 
for  itself.” — Hans  W.  Singer,  “James  McNeill  Whistler,”  p.  48. 


105 — The  Little  Lagoon 
Wedmore,  No.  152. 


One  of  the  Venice  set.  Very  fine  impression,  but  slightly 
foxed. 

“  That  Mr.  Whistler  did  not  need  the  smoke  and  mist  of  London 
to  inspire  him  is  most  abundantly  shown  in  these  Venice  plates. 
Here  he  had  to  deal  with  brilliantly  colored  atmosphere,  yet  he 
could  give  us  just  as  much  effect  of  space  as  he  could  in  the 
silvery  Nocturne.” — T.  R.  Way,  “The  Art  of  J.  McNeill  Whist¬ 
ler,”  p.  73. 


106 — The  Palaces 


Wedmore,  No.  153. 

Superb  and  early  impression,  before  the  butterfly 
erased,  with  large  margins. 

“  Superb  draughtsmanship  and  very  effective  contrasts  of 
and  shade.” 


was 


light 


107 — The  Piazzetta 
Wedmore,  No.  155. 

Superb  early  proof,  on  old  paper,  with  margins.  One  of 
the  Venice  set. 

(See  note  on  The  Little  Mast,  Wedmore,  151.) 


108 — The  Beggars 

Wedmore,  No.  159. 

Rich  in  effect.  On  old  paper,  with  margins.  One  of  the 
Venice  set. 

“  And  when  one  comes  to  think  of  it  there  are,  as  for  instance  in 
those  dark  alleyways  of  the  Venetian  Set,  or  the  Kitchen  of  the 
French  series,  passages  of  luminous  shadow  which  Rembrandt 
never  approached  in  the  Burgomaster  Six  or  in  any  similar  sub¬ 
ject.” — Joseph  Pennell,  “Whistler  as  an  Etcher.” 


-The  Mast 

yr'  j  Wedmore,  No.  160. 

rVV  Fine  and  early  i 

margins.  One  of  the  Venice  set. 

^  |  V'^'TIO — Bead  Stringers 


Fine  and  early  impression,  on  Japanese  paper,  with  large 


Wedmore,  No.  164. 

»ne  of  the  series  of  “  Twenty-six  Etchings,”  of  which 
thirty  impressions  only  were  issued. 


WILLMANN,  E. 

Ill — Spring 

After  the  painting  by  Ludwig  Knaus. 


\v 


UNKNOWN 

112 — The  Old  Librarian 

Proof  on  Japanese  paper. 


& 


•jfo 


WATER  COLORS 

ZOGBAUM,  RUFUS  FAIRCHILD 

The  following  water  colors  and  drawings  were  purchased 
at  the  sale  of  Zogbaum’s  original  work,  made  at  the  Ameri- 
^  can  Art  Association,  in  January,  1897. 

JO 

113 —  The  Quartermaster 
Original  water  color.  Signed  and  dated  1896. 

114 —  The  Colonel's  Favorite 

S®,  Original  water  color.  Signed  and  dated  1892. 


WASH-DRAWINGS 


115 —  In  Full  Cry 
Signed. 

116 —  In  at  the  Death 
Signed  and  dated  1892. 

117 —  State  Match  at  Creedmore 
Signed  and  dated  1895. 


118 —  “  Hands  to  Bathe  ” 

Signed  and  dated  1895. 

119 —  Morning  Quarters — The  Lord's  Prayer 
Signed  and  dated  1896. 


AMERICAN  ART  ASSOCIATION, 

Managers. 


THOMAS  E.  KIRBY, 

Auctioneer. 


